Statue looking up remorsefully
Making a Scene: Performance and Black Material Remembrances
By

Exploring how Black mothers’ public grief resists anti-Black narratives, Washington Jr. proposes making a scene as an answer to Diana Taylor’s call that we “reconsider how performance studies and historical studies construct and position themselves in relation to their objects of analysis—the activated now of performance, the performed past of history.”

lostdaughter_1.jpg
"I'm alive": On Maggie Gyllenhaal's Leda in 'The Lost Daughter'
By
Devanshi Khetarpal

In Maggie Gyllenhaal's 2021 adaptation of Elena Ferrante's 'The Lost Daughter,' the last sentence of the book ("I am dead, but I'm fine") changes as Leda says, "I'm alive." By changing the death that Leda's experience motherhood entails, Gyllenhaal creates her own Leda, a woman who is different from that in the Ferrante's text.

Letter from Paris: July 2010
By
Je l’aperçois de loin: une femme aux cheveux noirs, de dos, qui porte dans ses bras une petite fille d’à peine deux ans. Elle la balance plus qu’elle ne la berce, un coup à gauche, un coup à droite, mécaniquement. La main qui soutient les genoux de la fillette est ouverte: geste furtif, que je ne remarque que rétrospectivement: elle fait l’aumône.
Subscribe to motherhood